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Copyright of Cumhuriyet International Journal of Education is the property of Cumhuriyet University, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this study is to examine the attitudes and self-efficacy perceptions of students who receive professional music education towards modal hearing in terms of various variables (gender, age, class level, faculty of education). In the study, attitude and self-efficacy perception scales were used as data collection tools towards modal hearing developed by researchers. The Cronbach's alpha internal consistency coefficients of the scales were determined as 0.871 for the attitude scale and 0.901 for the self-efficacy perception scale. The study group of the research consists of 259 undergraduate students in their 3rd and 4th grade who were enrolled in courses related to Modal Hearing and studying in the Music Departments of Faculties of Education, Faculties of Fine Arts, and Conservatories in 12 randomly selected universities in Turkey during the 2021-2022 academic year. As a result of the research, it was determined that the students who received music education had positive attitudes towards modal hearing and considered themselves sufficient in modal hearing. On the basis of faculties, it was determined that the lowest attitude score belonged to the students of the faculty of fine arts, and the highest attitude score belonged to the students studying at the conservatory. There was no significant difference in self-efficacy perception scores between the three faculties. In addition, when the attitudes and self-efficacy perceptions of the participant students towards modal hearing were examined, it was seen that male students exhibited more positive attitudes than female students. It was determined that there was no difference in the attitudes and self-efficacy perceptions of the participating students towards modal hearing based on age and grade level variables. [ABSTRACT FROM AUTHOR]

Traditional music, which was formed around the oral tradition and first met with written culture and then other technology cultures, is seen as one of the most important legacies of the past, due to the attention paid to it since the 20th century. Although it takes place in these processes mainly due to ideological developments such as nationalization and institutionalization, and social developments such as urbanization and globalization, the main point that can be seen as a change for traditional music is the new transmission environments it encounters in these processes.With the establishment of the Republic, Turkish folk music became the object of written culture, first fixed with notation and turned into a sound recording as a result of the possibilities provided by the developing sound recording and broadcasting devices. It is one of the basic postulates of communication sciences about the transfer of culture that knowledge gains new social and institutional appearances, functions and aesthetic forms in each new transmission medium. These transmission media, which are divided into basic parts as oral, written and electronic, not only affect the way of transmission of messages, words and music in social communication, but also diversify the ways of using information and the perceptions of societies towards information. When traditional music is considered in particular, this means that music is first commodified, decontextualized, stripped of its usual institutional uses, and then recontextualized during its reproduction and gaining new institutional appearances. It is possible to consider all these processes together with the process of transferring folk music to new media environments that started before the establishment of the Republic in Turkey. It is important to consider the parallelism of such a nationalization- culture institutionalization together with its cultural and social aspects, in order to understand the rich media appearance of folk music today and the new appearances of folk music in the social field. The process of mediatization and mediation of folk music in Turkey has progressed from the presentation of large narratives about music to the public (receiver) during the single-channel public broadcasting period, to the dissemination and consumption of smaller artistic elements that can be structurally divided into different media as content in the developing media environments. The artist's life story, art and many other performative elements that can be presented as content in the media continue to exist by changing and transforming according to the structural and social boundaries determined by the media tools. In this study, "Neşet Ertaş" and the story of his art in the media are discussed as an example. Neşet Ertaş is one of the first examples of the "media resource person" generation, who has gained national recognition with his music surpassing faceto- face performance environments quantitatively. Neşet Ertaş in the media has become a part of the identities of the artists who take himself as an example by existing with various narrative elements such as mastery, local attitude, ethnographic identity, life story, threshold, which constitute parts of his musical life rather than a narrative integrity. The purpose of this article, in line with the above narrative, is to examine Neşet Ertaş as a mediatic artist character and to question the relationship between folk music and media through artists who use the views of his life and the meanings of his art. [ABSTRACT FROM AUTHOR]

Copyright of Eurasian Journal of Educational Research (EJER) is the property of Eurasian Journal of Educational Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the research, it was aimed to reveal the goal attainment levels of the 2018 music course curriculum 8th grade gains in line with the opinions of the music teachers. The research is based on the Descriptive Research Model and was carried out by the survey method. As a data collection tool used a questionnaire in which the gains in the 8th Grade Music Lesson program of the 2018 music education program was turned into questions, and the levels of achievement of the objectives were questioned in line with the opinions of the music teachers. Working group of the research consists of 413 music teachers in Turkey's seven regions (Mediterranean, Eastern Anatolia, the Aegean, Southeastern Anatolia, Central Anatolia, Marmara and Black Sea). In line with the data obtained from the research, it has been determined that the achievements of the "Musical Perception and Enlightenment" and "Musical Creativity" learning areas do not reach their target to a large extent. It is concluded that the gains of the fields of learning "Listening-Singing" and "Music Culture" mostly reach their goals, but especially the vocalization of various genres of Turkish music, the makam structure of Turkish music, the musical cultures of Turkish communities and the forms of Turkish music do not reach their goals. In addition, it was determined that managing the National Anthem did not reach its target. [ABSTRACT FROM AUTHOR]

The purpose of this study is to compare the self concepts of students who have music training and students who don't have music training. Within the scope of this purpose, the self concepts of the students who continue their education in Anatolian Fine Arts High School known shortly as music high schools and the self concepts of the students who continue their education in general high schools were compared. The sample of the study was composed of 100 students some from a general high school selected in Istanbul and some from a music high school. It's been found that the self concept perceptions of the students who continue general schools are higher than the ones who continue music high schools. Also it's been determined that among the students of both high school types, the self concept perceptions of the male students are significantly higher than the female students. The obtained results are discussed within the scope of the general opinion based on the study results showing that the music training creates higher self concept perception. Keywords: Self concept, music training, music high school [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

THE PURPOSE OF THIS STUDY WAS TO TEST THE cross-cultural musical understanding of trained and untrained listeners from two distinct musical cultures by exploring the influence of enculturation on musical memory performance. Trained and untrained participants (N = 150) from the United States and Turkey listened to a series of novel musical excerpts from both familiar and unfamiliar cultures and then completed a recognition memory task for each set of examples. All participants were significantly better at remembering novel music from their native culture and there were no performance differences based on musical expertise. In addition, Turkish participants were better at remembering Western music, a familiar but nonnative musical culture, than Chinese music. The results suggest that our cognitive schemata for musical information are culturally derived and that enculturation influences musical memory at a structural level. [ABSTRACT FROM AUTHOR]